- An Interview with Peer Bode Interview
Peer Bode began producing video around 1971 with an early black-and-white portapak while an undergraduate at SUNY Binghamton; he worked with filmmakers Larry Gottheim and Ken Jacobs and used the Experimental TV Center's keyers, mixers and colorizers. Remaining in Binghamton through the mid-1970s, he collaborated with the American Dance Asylum and with engineers and artists Ralph Hocking, Nam June Paik, Shuya Abe, David Jones and Walter Wright on tools such as the Paik-Abe Colorizer/Synthesizer, SEGs, Scan-A-Mate, a Spatial and Intensity Digitizer and an Elf II computer.
- New Work in Abstract Video Imagery Bibliography
New Work in Abstract Video Imagery is an anthology of videotapes produced 1973–1977 and organized for the Everson Museum of Art, Syracuse in 1977; it documents experiments with television, magnets, videosynthesizers, lasers and computers and includes works by Nam June Paik (magnet experiments; Paik/Abe videosynthesizer), Shuya Abe, Aldo Tambellini (Black Spiral, 1968), Peter Van Riper, Mary Lucier (Fire Writing), John Cage (Suite 212), Ron Hays and many Chicago-based practitioners. Production centers cited include the New Television Laboratory at WGBH, the Sandin Image Processor at the Art Institute of Chicago, the Experimental Television Center (Binghamton) and Bell Labs; the New York State Council on the Arts provided support. The exhibition was organized by Richard Simmons as an artists' cooperative with revenues divided equally among participants.
- Credits
Conceived and directed by Sherry Miller Hocking, the Video History Project has operated since 1994 as a collaborative effort; acknowledgements include Ralph Hocking and William Joseph Hocking. Kathy High and Mona Jimenez collaborated with Hocking on the book The Emergence of Video Processing Tools: Television Becoming Unglued (Intellect Press, 2014); Matthew Schlanger redesigned the site in Drupal and migrated the databases while David Jones assembled the original vhp web database. Listed funders and partners include the Andy Warhol Foundation, Daniel Langlois Foundation, New York State Council on the Arts, New York Foundation for the Arts, Everson Museum and Visual Studies Workshop; Visual Studies Workshop Summer Institute participants worked 1992–1998 on A Natural History of Video Art. Contact [email protected].
- Early Video History at Visual Studies Workshop Groups
Under director Nathan Lyons, Visual Studies Workshop established a media center in 1973 with production facilities, workshops and exhibitions; early video activity increased in 1974 with student workshops and an equipment purchase supported by a 1973–74 New York State Council on the Arts grant. VSW hosted events including Polyfusion (Strasenburgh Planetarium, Sept 20–21, 1974), ran a 1974–75 visiting-artist program that included Nam June Paik and Bill Viola, and collaborated with WXXI and Portable Channel on broadcasts and exchanges. The Research Center holds extensive media-center files, and the videotape collection—augmented by Portable Channel (1989) and Ithaca Video Festival deposits (1993)—contains over 4,000 tapes.
- Video is Being Invented Bibliography
Nam June Paik is presented as a seminal figure in the emergence of video art; he experimented with television in Germany and Japan, moved to New York in 1964, and with Shuya Abe developed the Video Synthesizer in 1970, producing works such as the T. V. Chair and the Television Bra. The text surveys artists working in video—Keith Sonnier, Linda Benglis, Joan Jonas, Nancy Holt, William Wegman, Michael Snow, Bruce Nauman, Peter Campus and George Boiling—and documents practices using portable videotape recorders, live feedback, colorization and synthesized color, video environments, and independent video groups and cable/public-access distribution.
- The Role of Technology in the Art of Nam June Paik: Paik's Videotapes Tools
Nam June Paik, an early pioneer of video art, experimented with television from 1959 and purchased the first Sony portable video recorder available in the United States in October 1965 with a John D. Rockefeller III grant. Collaborating with Shuya Abe, he built the Paik/Abe video synthesizer at WGBH and the Experimental Television Center to enable real-time color and image manipulation; WGBH broadcast his four-hour Video Commune in 1970, and Paik published technical diagrams and assisted in creating consoles for WNET, the California Institute of the Arts and the Experimental Television Center.